Jorge Kuri’s
THE BITTERNESS OF THE MERINGUE
The Run is Over
La Mama E.T.C.

Reviewed
by Dinika Amaral

A first
grade teacher friend and I were “espresso-ing”
at a hip West Village Israeli coffee shop.
She was drafting a plural test and asked
me to pluralize octopus. I oscillated
between octopi and octopuses. Turns out
both are correct.

If English-as-a-first-language
users find this scenario confusing, I
wonder how difficult mastering English
must be for second or third language users.
Mexican playwright Jorge Kuri wrote THE
BITTERNESS OF THE MERINGUE in Spanish.
I recently saw the English version of
this love story (translated by Edith Luna)
at La Mama E.T.C. Now a part of me wonders
if we were robbed of some of the play’s
nuances during translation.

Diverse
themes in the plot converge on the age-old
love triangle, making love the grit of
this absurdist play. Fenix (Antonio Cerezo)
falls in love with Serpentine (Sasha Painter),
an innocent village girl whose sister
Melusine (Siho Ellsmore) is a sexy prostitute.
Playwright Kuri based Melusine’s
character on the mythical Celtic creature
of the same name; Melusine was the pre-Christian
water faerie who spirited away Lancelot.

In the
myth, Melusine has to find a husband to
love her, as love will set her free. In
THE BITTERNESS OF THE MERINGUE, the bitterness
is love. Fenix gives his heart to Melusine,
the whore, in exchange for sex; thus he
has no heart left to give to his true
love, Serpentine. The bitterness from
this shameful trade-off kills Fenix.

Actor Cerezo
is a slightly built Latin American man
who reminds this reviewer of the Latino
buddy a girl might lean on when faced
with a boyfriend crisis. He has a round
face and darting eyes that seem imprisoned
in their sockets. Cerezo brings the right
amount of bounce to Fenix. Unfortunately,
I could not understand why Fenix bartered
his heart for sex; perhaps a speech or
soliloquy would have cleared up this character’s
motivations. Here is where I think Jorge’s
intended message was lost in translation.

Old Raffles
(John Benoit) is another fascinating character.
He first appears as a raving lunatic who
lives in a garbage dump and believes he
is the Knight of Entertainment at a court.
Subsequently, through his humor, the Fester/Knight
establishes himself as the comedian of
the play. My favorite Fester line is:
“I write it in the air,” the
perfect way for a paranoid knight living
in a garbage heap to maintain creative
confidentiality from vagrants he imagines
are out to steal his creative property
– an improbable alternative to intellectual
property patents?

La Mama
is a small theater, and since I sat up
front, I felt the full force of Benoit
during his speeches. He was glorious,
magnificent and utterly mad. He christened
himself and Fenix “The Royal Family
of the Moon,” with himself as “King
of the Moon,” and Fenix its “Supreme
Prince.” Fester was the most gripping
character in the play.

The play
progresses in short acts, a structure
director Raine Bode uses to her advantage.
The lights, stage entrances and scene
endings all run like a well-rehearsed
dance. The most exciting scenes are when
Bode has all the characters on stage,
in pairs, threes or singles, doing different
things. At these junctures the entire
stage looks like an octopus gone amuck,
with the individual tentacles writhing
and struggling to be free of the head,
while being physically unable to break
their connections. But despite Bode’s
enthralling direction, her masterful choreographing
of the myriad of dialogues and interchanges,
character motivations still elude us.

La Mama
is known for experimental theater and
lives up to its forty-three-year-old reputation
in THE BITTERNESS OF THE MERINGUE. The
play is an empirical East Village off-the-wall
experience that I recommend only to those
comfortable with “The Royal Family
of the Moon” and love lost.

Tickets:
The run is over. For more information
about La Mama, log onto www.lamama.org.

La Mama E.T.C. |74A
East 4th Street |NYC
10003

CLASSICAL SAVION
The Run Is Over
The Joyce Theater

Reviewed
by Stephanie Alberico

Tony Award
winner Savion Glover tap dances to the
unusual beat of classical music in his
new show, CLASSICAL SAVION. I must admit
I was skeptical when I first heard he
would be teaming up his original choreographed
numbers with the likes of Bach, Bartok,
and Mendelssohn. To me, “Tap Dancing
to the Classics” sounds like an
oxymoron. But, amazingly, Savion pulled
it off.

The theater
was abuzz with excitement and the crowd
was a mixture of young and old. The stage
setting and lighting were minimal, with
a small stage featuring Savion as well
as the musicians positioned behind him.
Savion became the main focus of the show
with his collared shirt of bright blue,
which he changed to a different vibrant
color after each set. The classical musicians
were young, talented artists. Violins,
violas, cellos, a piano, a double bass,
a saxophone, flute, and a harpsichord
made up this amazing orchestra/jazz band.
In fact, my favorite part of the evening
was when Savion introduced each musician
and gave him/her an opportunity to do
a solo improvisation. It was incredible.
Classical improv? Whoever heard of such
a thing?

As for Savion himself, he’s a tall,
lean African American who much resembles
his mentor, Gregory Hines, except for
the fact that Savion has long dreadlocks
hanging down his back. On top of the piano
sat a single photo of Hines as Savion’s
poignant tribute to his teacher and inspiration.

The show
was relaxing as well as enthralling. Savion
danced with the grace of a seasoned tap
veteran and made each movement seem easy
and flowing. I was fascinated just to
sit back and listen to the wonderful music
accompanied by the constant beats of Savion’s
genius tap shoes. His feet seemed to move
with a mind of their own, his swift, graceful
tapping in perfect harmony with the beautiful
classical repertoire. He became an instrument
himself as he tapped his way through each
song.

The mood was light, especially as Savion
cracked jokes between sets. One needed
only to look at the sweat dripping down
his shirt after each number to know he
was dancing his heart out.

The audience
seemed enchanted by the show. Savion clearly
scored a remarkable hit with his new type
of entertainment.

To this
reviewer, Savion brings a fresh twist
to classical music and gives the tried-and-true
an intriguing face-lift. He reinvents
himself along with the little appreciated
art of tap dancing. Some might argue classical
music has somewhat lost its popularity
in modern culture; however, I applaud
Savion for making violins and violas more
appealing to modern youth.
Savion ended the show with a slight change
of pace by introducing a bassist and a
jazz band, The Others. Their performance
brightened the show, and then he launched
into a dazzling finale called “The
Stars & Stripes Forever,” a
la John Philip Sousa. With Savion wearing
a bright red shirt, blue stripes and stars
glittered in the background as he picked
up the pace on this number. His feet fluttered
with new energy during the uplifting finale.
It was a perfect ending to a perfect night.

CLASSICAL
SAVION delivers an evening of entertainment
the whole family will enjoy. The show
definitely opened my eyes to a whole new
style of tap dancing. For more information
on programs at the Joyce Theater , log
on to www.joyce.org

The Joyce Theater
|175 Eighth Ave. at 19th St.

Aidan Matthews’
Communion
The Run is Over
The Phil Bosakowski Theatre

Reviewed
by Caroline Smith
January 21, 2005

All the
way from Ireland, award-winning Irish
playwright Aidan Matthews gives New York
his blessing with the American premiere
of Communion. Nominated for the
Irish Times’ prestigious Best Play
Award in 2002 at the Abbey Theater in
Dublin, this alleged dark-comedy kindles
the spirit.

The scene
opens in the bedroom. The room has the
feeling of eternal youth, furnished with
books, color, and a large centered window
for entering and exiting. We are introduced
to Jordan who lies in bed during his last
few days with a brain tumor. His animated
younger brother Marcus, prances barefooted
around the room, book in hand. He reads
to his brother without restrain, trying
to distract Jordan from his suffering
and from his own. As we later learn, his
brother has been in and out of psychiatric
institutions, however he reads without
a trace of this past or further humiliation.
We also learn that outside the bedroom
door, the color drains and differences
of faith among the family interfere. The
boys’mother, pious and stern in
nature, is emotionally cold at the top
of the play. Her cynicism and taut pearls
mask her initial grieving for her dying
son. She lashes out on Marcus while he
relentlessly pines for her love. But differences
aside, the family and friends must commune
over a loved one’s death.

When Arthur,
the Catholic priest puts down the Bible
and asks for the family to pray, a curtain
of anger rises and light floods the room
for the first time. Ean Sheehy who plays
Jordan, gives a very strong performance
despite being bed-ridden for the entirety
of the show. In contrast was the charismatic
and jittery J. Kennedy, playing Marcus,
who portrayed a fundamentally weak and
troubled soul that was unable to stop
loving his brother. His carefree girlfriend
Felicity, shared one of the more tender
bedside moments with Jordan. She kept
the tearful material light and hopeful.

I enjoyed
the character development and relationships
in the play but I didn’t feel that
the subject matter was all that original
in content. I felt that there was nothing
particularly new to this story. A family
unites over the death of a loved one and
yes, differences in background and personality
are often set aside in order to grieve.
This was not to say that the play wasn’t
moving or resonated with me as an audience
member. From the beginning we know in
our hearts that the beloved Jordan is
going to pass away and I also knew that
his family would have a hard time overcoming
his loss. I think was hoping to witness
the life of these characters before such
suffering clouded the bedroom. In short,
Communion was a great new play
for the New York stage. Moreover, strong
acting only helped to enhance a beautiful
set design. Communion was presented
by the Origin Theater Company.

Little Women
The Musical
Open Run
The Virginia Theater

Reviewed by: Brett
Saphire

Commenting on Little
Women The Musical is a bit like
shooting fish in a barrel. Taking a
classic and wildly beloved piece of
American Literature and adapting it
as a musical for the Broadway stage
must be daunting to say the least. Everyone
will surely be a critic in a seemingly
impossible bid to strike Broadway gold.
Why not just stand in Port Authority
at rush hour with a kick me sign taped
to your back

Let me be clear, this
is a great play for pre-teens and teens
and their theatre loving parents, teachers,
great aunts or “confirmed bachelor”
uncles – the ones who always match
their pocket squares to their socks.
One could even argue that this is an
astonishingly high-tech, super-polished
piece of children’s theatre. If
this were part of American Place Theatre’s
Literature to Life series, it would
make the cover of Time…or at least
Highlights.

I would love to comment
on the music and lyrics but even after
2 1/2 hours, I could not recall any
truly memorable tune or lyric in great
detail. They are all pleasant and appropriate
and perfectly vanilla. If midtown Manhattan
were a an upscale shopping mall, the
Virginia Theatre could easily be it’s
elevator – the music is just the
kind of white noise that placates bored
housewives and antsy children. In fact
the marketing campaign for this zillion-dollar
Broadway jamboree has morphed into a
“Mothers bring your daughters
for girls night out” mode in record
time.

This is understandable.
There are impressive voices, period
wigs and finery not to mention a few
Disney-esque sets. The intricate emotions
and dynamics illustrated in Alcott’s
classic are watered down and presented
in a straightforward, simplistic manner
requiring little intellectual effort.
As a result of this ultra “user-friendly”
approach there is something painfully
lost in translation. For instance, Jo’s
passion for the written word as well
as her desire to break out of the traditional
role 19th century society has allotted
her is touched upon but never really
explored or expressed in a way that
would bond an audience to a character.

This is not the fault
of the production’s gifted star,
Sutton Foster. In fact, Foster is undoubtedly
a major talent poised to become the
kind of legendary star generations of
aspiring actresses and wiry suburban
gay boys will light candles to. One
becomes even more anxious to see what
Ms. Foster – a TONY winner for
her turn as Millie Dillmount in Thoroughly
Modern Millie - will do when given something
other than the role of the plucky, perky,
can-do gal with an ability to belt.

Maureen McGovern as
Marmee displays such a richness of character
and vocal range that she at times seems
to have wandered in from another production.

Janet Carroll –
one of the entertainment industry’s
most under-rated talents – adroitly
brings the character of Aunt March to
life with delicious haute bourgeois
venom.

Amy McAlexander as
Amy has perhaps one of the more demanding
roles. She must teeter between surely
adolescence and refined young womanhood.
She does so admirably with her petty
mischievousness adding some much needed
– if brief - sparkle.

Jenny Powers’
Meg is charming and appropriately beautiful.
A definite stand-out due to Ms. Powers’
stage presence and mega-watt smile.

Megan McGinnis as
the ill-fated Beth has one of the few
memorable moments with the genuinely
touching “Some Things Are Meant
To Be” in the second act.

With such an abundance
of talent and financial backing, it
seems a shame that this production does
not send more audience members singing
into the street after the curtain call.
It does however please many and is definitely
worth a trip to mid-town. If you have
an adolescent friend or relative (or
just wish you yourself were one), you
will undoubtedly find the redeeming
qualities this production has to offer.

The
Virginia Theatre | 245 West 52nd Street

Michael Frayn’s
Democracy
Open Run
Brook Atkinson Theatre

Reviewed
by Evan Sung

These days,
good theater on Broadway is about as scarce
as Democracy in today’s turbulent
political climate (its ‘on the march’
we’re told, and maybe that’s
why its so hard to find). To the rescue
comes Michael Frayn’s dense but
involving drama, Democracy, set
in a divided West Germany slowly loosening
the shackles of its Nazi past and Communist
rule.

Democracy,
like Frayn’s last success Copenhagen,
takes real figures and events and weaves
fiction into the facts to arrive at a
complicated portrait of human motives
and psychology. Germany’s modern
history has always been a ripe metaphor
for the divided human soul. Frayn uses
it to its full potential in depicting
the story of office clerk Gunther Guillaume
(Richard Thomas), an East Berliner placed
in the cabinet of the freshly elected
Chancellor of West Germany, Willy Brandt
(a magisterial, yet fragile, James Naughton).
Placed there by the East German Secret
Service to report back to the East on
Chancellor Brandt’s Social Democratic
policies, Guillaume soon finds himself
torn between loyalty to his Eastern homeland
and his growing respect, even adoration,
of Chancellor Brandt and the hard-scrabble,
visionary rhetoric of the SPD. Though
the politics are an integral part of the
dramatic action, it’s the human
drama that compels the viewer. And in
a clever dramatic stroke, the relationship
of the fawning Guillaume towards Chancellor
Brandt is not far from romance. And why
not? In a Germany just beginning to see
light at the end of a long tunnel of shame
and despair, democracy is a romantic ideal.
Guillaume falls in love as much with Brandt’s
rhetoric as he does with the power, the
charm, and the faults, of the man chosen
to bring this flame of Democracy to the
people.

Director
Michael Blakemore and his cast do a formidable
job of giving energy to what might seem,
on paper, inaccessible to a Broadway audience.
After all, how many of us lay awake at
nights fretting over how narrowly the
German Social Democrats came close to
losing their coalition in 1972? And yet,
here, thanks to fine acting, and clear,
efficient exposition, we too are swept
up in the dramatic Parliamentary No Confidence
vote against Willy Brandt and his SPD.
When Guillaume enthusiastically comments
“Never mind football! Try Parliamentary
Democracy!” we are genuinely excited
and moved along with him. The line also
strikes a chord in us because it is filled
with naïve optimism in the power
of democracy that contrasts with the rather
tortured state of our own present model
of democracy. The play benefits from these
parallels with our own contemporary political
scene, but it is not dependent on them.
Democracy exists on its own terms,
an exciting play of ideas and emotions,
which addresses not just the compromises
and conflicts inherent to politics but
present in every human interaction. Well-acted,
beautifully staged on a sleekly minimalist
set by Peter Davison, Democracy is
a vital reminder of what theater, and
for that matter democratic politics, should
be about.

An Evening With Greg
Walloch
Ars Nova Theater
January 20, 2005
The Run is Over
ARS NOVA

Reviewed
by Caroline Smith

On a January
nightfall boasting a temperature of fifteen
degrees, a frozen audience numbly took
their seats at the Ars Nova Theater for
an An Evening with Greg Walloch.
That same audience left not only warmed
from head to toe, but more importantly,
courageous enough to brave New York’s
coldest.

Who is
he to most people? Comedian, performer,
television actor… Greg Walloch recently
appeared in Moscow, Russia at THE MOSFET
Breaking Down Barriers II and to a sold-out
crowd at Radiance Film Festival in London,
England, to headline just a long list
of credits. But to me, Greg Walloch is
a storyteller. His walking sticks did
not allow him to slip into another character
per say, but on an unadorned stage, Greg
Walloch was himself; a genuine, determined,
gay, disabled man from Harlem. And what
more could New York want? He glowed. You
held onto his words the way your fingers
have held a warm cup of tea these past
few days. And tea, he certainly could
have used. Greg’s vocals suffered
at times due to a visibly bad cold, but
unlike many stage divas that would have
cancelled a show in order to plug a runny
nose, Greg persevered like he’s
done his entire life and gave a strong,
poignant performance. This teaches you
something. Here is a man born with cerebral
palsy that has conquered the toils of
the industry and not to mention, life.
Men and women sat up in their wheelchairs
proudly applauding Greg as he danced with
an audience member on stage. Yes, the
man does it all.

After doling
out many bits on how it is being a gay
man in this feisty city, he took the opportunity
to ask how many of us theatergoers were
single. Upon seeing my hand raised he
asked me what the deal was. I could only
shrug and tell him that, “Everybody’s
gay.” This received a rich laugh
from both Mr. Walloch and audience. The
point of this quip reminds us that there
is of course, adversity everywhere. This
reflected the show’s theme and highlighted
the fact that each one of us is disabled
in our own way. It’s how we make
the disability work that ultimately matters.

Although
the majority of Greg’s performance
was autobiographical, a feeding ground
for hungry New York critics, I thought
that it was infused with stand-up comedy
and originality. In short, he made it
difficult for us to pity him when his
sharp wit and compassionate demeanor got
in the way. Thanks for a winning performance,
Greg.

The Ars
Nova Theater is located in the urban landscape
of Hell’s Kitchen, located at 511
W. 54th St. This venue serves as a showcase
for rising Broadway talent, a space for
weekly play-reading series, as well as
alternative music and comedy series, and
in-house writers workshops. Have I mentioned
the word affordable yet? Tickets for this
show were $15. Check it out. For more
information www.gregwalloch.com.

SAM
SHEPARD'S
THE LATE HENRY MOSS
The Run is Over
The Creative Place Theater

Reviewed
by Jonathan Greene

You can always
expect certain things when taking in a
Sam Shepard play: the setting will be
remote, maybe Arizona or Wyoming; no one
is going to be rich, in fact most will
be poor; family ties hold strong like
a horse’s reigns, but tight, and
easily breakable; and there is always
going to be AT LEAST one drunk. In the
case of The Late Henry Moss,
presented by The White Horse Theater Company,
under the direction of Cyndy A. Marion,
there are several.

The story
follows the two sons of Henry Moss, as
they try and piece together the events
of his sudden death out in the dusty sands
of New Mexico. Moss was a drunk, a loner,
and an angry old man, and the proof of
that is left on his two sons. Both are
single men, in their middle years with
no family. They have a way of talking
that suggests hardness. Earl, the older
brother, has tried to adapt to society,
he dresses a little better, he owns a
packaging company, but the marks the old
man has left lay buried shallow under
his surface. Ray, the younger brother,
is the more outward case, capable of flying
off the handle. He’s a fast talker,
bigger now then when he was young, But
for all his ranting and ravings, his voice
falters like that of a little boy scorned
a little too much. But for all their arguing,
for all the whiskey sipping they do -with
the old man’s corpse lying there
on the bed behind them - they can’t
seem to agree on what’s happened.
Ray is determined to get the whole story
– a strong over-riding theme of
the play – and has a sinking suspicion
that Earl isn’t telling him the
whole truth. So like the overgrown, overaggressive
man-child that he is, he begins to piece
it together himself. He probes like a
rattlesnake until he finds the inconsistency.
Lonely, neglected Ray, he’s searching
for something he’s not going to
find. Soon the pieces fall together, but
not how you expect. Through memory and
flashback – used artfully and with
skill by Mr. Shepard - we see the events
surrounding the old man’s death.
We see the old man, no longer a corpse
on the bed, instead a drunken shell of
a man, walking around, breathing green
breath and stumbling through his last
days on earth. And in seeing Moss, alive
and moving, we see the devastation that
he has laid to the souls of his two sons.

Ms. Marion
does a wonderful job staging this tragic
play of memories and life. She often bathes
the stage in red light, suggesting the
unbearable heat of the sun on a drunken
man’s skin. More impressive is her
ability, as a director, to stay away from
melodrama. She guides her actors to a
place that is as tangible as the dilapidated
apartment in which the play takes place.
The play took a few moments to grow on
me as an audience member, and I can only
attribute this to the fact that Mrs. Marion
forces the entire production to teeter
on the edge of realism, without forcing
it over into the world of interpretation.
I soon realized that every character was
in some ways or another, a loner, and
if not, then lonely. Marion harnesses
that “only looking out for number
one mentality,” and lets it filter
in, bearing its head in moments of monologue
scattered throughout the play.

Bill Fairbairn
plays an excellent Henry Moss. He avoids
the trappings of playing just another
drunk, and fills him, at first with a
foolishness that soon translates over
into the elderly rage of a lost man. In
his final monologue - just before the
answers come - as he stares out into the
audience, his face seems magically to
age another 30 years, his eyes becoming
sad and darker as he drifts off. James
Wetzel does marvelously with the challenging
part of Earl, a man who has run away for
years. When he rises from bed in the beginning
of Act II his shirt un-tucked on one side,
he moves, sounds, and acts just like his
dead father, and the resemblance of it
all is truly magnificent. The audience’s
allegiances to the players constantly
shift, and suddenly we watch Earl fall
from our graces. David Runco does quite
well as The Taxi Driver. Runco is the
tallest man on the stage, and yet possesses
the least amount of power out of all the
characters. Watching Ray and Earl abuse
him in their own styles is quite enjoyable.

So if you
get a chance, go see this play of father’s
and sons, drinkers and drunks. Only then
can you get the whole story.

The York's Theatre
Company's
The Musical of Musicals - The Musical! Open Run
The New Dodger Stages

Reviewed by Wendy
R. Williams

The
Musical of Musicals - The Musical! is
a hysterically funny musical satire depicting
a simple story, about an ingénue who cannot
pay her rent, told in the style of five
musical comedy greats: Rodgers and Hammerstein
("Corn"); Stephen Sondheim ("A Little
Complex"); Jerry Herman ("Dear
Abby"); Andrew Lloyd Webber ("Aspects
of Junita"); and Kander and Ebb ("Speakeasy").
All of this fun was written by Eric Rockwell
(Music and Co-Writer Book) and Joanne
Bogart (Lyrics and Co-Writer Book), who
also appear in the show. The very
talented Pamela Hunt is both the director
and the choreographer of the show.

The show works
on many levels. First there is a
marvelous cast: Lovette George (the ingénue
who can't pay her rent); Craig Fols (the
slightly foolish hero who will pay her
rent); Joanne Bogart (the wise older woman);
and Eric Rockwell (the villain/piano player).
They all have great voices and to-the-nanosecond
comic timing. They were also great
fun to look at. Their costumes were
simple, variations on black cabaret-type
attire, but their faces were amazing.
Lovette George, in particular, could give
Jim Carrey a run for his money in a "Who's
got the best rubber face?" competition.

Then there are the jokes - total howlers
for audience members familiar with the
various composers, but still funny enough
to elicit a laugh from a musical comedy
novice. After I saw the show I was
talking about it with a relative who has
performed in musical comedies since she
was a child. I told her she had
to see it, because she would probably
like it even more than I did because she
would get some of the more obscure musical
comedy references. She then asked
me if her six year old daughter would
like it. I thought for a moment
and said, "Yes, she would. She would
not get the insider jokes, but the performers
are so funny and the musical numbers are
so wonderful that she would like it anyway."
But before you make reservations for a
first grade class, let me add one caveat:
I know this kid and she adored Phantom
and Little Shop.

All the
different segments work. The show
starts with a dead-on send up of Rodgers
and Hammerstein set amid the corn fields
of August, then moves on to a cynically
twisted scene set in an apartment house
in the dark world of Sondheim. Next
it was time to idolize-a-diva in the Jerry
Herman scene. I have seen many middle-aged-community-theater
divas ham it up as Mame, so those jokes
killed me. A total Phantom junkie,
I loved the Andrew Lloyd Webber piece.
The night I attended, when it was time
for the Webber piece, someone in the audience
groaned and said, "He deserves to be skewered."
But they sure did laugh during the scene
and all the Weberesque songs were beautiful.
The show ends with a very witty Kander
and Ebb segment, with the final bits sung
in many different languages. Life
is so very Cabaret!

The York
Theater has an excellent road show on
their hands. "Musical" has a simple
set and most of the music is supplied
by an on-stage piano. This show
could easily be performed in a large cabaret
space. Throughout the country there
are people who cut their theatrical teeth
on musicals and they will be a perfect
audience for this show. I only hope
that if it tours, it tours with this cast.
Bravo!

Reviewers
note: I saw this show last July at the
York Theater and wrote the review at that
time. I saw it again on opening night
February 10th. and it was even more fun
than the first time.

Tickets
are $55 and $59.50 (Friday and Saturday
evenings) and are available through Telecharge
at (212) 239-6200 or at the Dodger Stages
Box Office. For information visit www.musicalofmusicals.com.